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Provence provides a stunning locale for this romantic adventure. The camera work is exquisite and every opportunity is taken to capture the natural beauty of this region. The story is simple enough. Angelo, an Italian colonel (handsome Olivier Martinez) escapes from Austrian-oppressed Italy to raise funds in the continuing battle against Austria. He finds more than an unsympathetic acceptance in France. Most of the towns through which he rides are beset with cholera. The camera scenes of the dead and dying victims, horse-drawn carts packed high with bodies and funeral pyres are terrifying enough, but it is the fluttering of black wings as crows seek out the eyes of the dying victims that frighten most. Some of the close-ups are pretty grim. In lighter vein I liked the scene where a cat befriends our horseman and he talks to it on the roof about how wars are won with money as much as guns. The cat is a great little actor. The horseman an accomplished swordsman carves his way through many a desperate situation (What hero doesn't?) He acquires a bottle of medicine from a dying stranger who has taught him a massage technique to avert death from cholera. On his way back to Italy with a bag of gold coins, he gives protection to Pauline, a doctor's wife (Juliette Binoche)who is seeking out her missing husband in the cholera-infected area. The young 25-year old colonel who sends almost daily letters to his mother in Italy (they are really a diary of events) behaves as the perfect gentleman at all times, but his protegee is obviously drawn to him. Here is a love story where the lovers admire from a distance never submitting to the chemistry which is drawing them together. When the woman collapses with cholera, all existing barriers are forgotten as he works on her frantically with his acquired knowledge to save her life. One of the great joys of this film is to watch the handsome faces of Martinez and Binoche. Their beauty contrasts sharply with the agonised plight of the villagers and the devilish black crows which hover continuously about the dead, fluttering out through open doors and windows. The ending may not satisfy some, but it leaves us with the thought that somewhere sometime all will be well again.

The Horseman on the Roof has to be one of the most beautiful looking films I've ever seen, which is odd for a movie about a cholera epidemic.

Set in a beautiful summer in the mid-19th century, it follows Olivier Martinez's Italian in exile as he is chased across France by Austrian agents intent on killing as many Italian rebels as they can only for his pursuers to be outrun by a cholera epidemic that picks off friends and foes. Along the way his path crosses with various victims and survivors - a doctor who teaches him a neat disinfecting trick of setting your hands on fire, a cute governess, Jean Yanne's duplicitous peddler, Gerard Depardieu's paranoid mayor, and most importantly Juliette Binoche, who is determined to find her husband. Naturally they become travelling companions as they try to get through roadblocks and avoid being put into quarantine by the soldiers cordoning off the roads - a virtual death sentence - and eventually nearly become more. The film looks so good in cinemascope and so much of it is terrific than you can just about forgive the fact that the ending is a bit of a washout after everything that's gone before.

A really enjoyable old-fashioned epic, I'd definitely pick this up if it ever turned up on DVD uncut with English subtitles (the Miramax disc is typically cut by 17 minutes thanks to Harvey Scissorhands).

Two superstars of the french cinema: adorable Juliette Binoche and hot Olivier Martinez, love and save each other from lost, sickness and death, while horse-riding through the stunningly beautiful Provence. An adaptation of the famous novel by Jean Giono. They are there: on the screen, on their horses, in this magnificent landscape, he tries to become a man, she tries to stay a woman, they are smiling, and soon you'll express the wish of being with them on this screen, to be one of them, maybe both, if this happens, Rappeneau gets to his goal: grace. A great tale about love, renouncement, youth, passion, courage and Honor. A famous novel of the french literature. Patriotism, romanticism, and grace. Rappeneau is the master, Binoche and Martinez are the gifted pupils.

This gorgeous movie was set in the cholera stricken period which wiped out the whole of Europe in 10 days. Juliette Binoche, in her pre-The English Patient role, was as gorgeous and subtle as ever. The thing about this movie though that it's billed as a romance but you don't see it anywhere but just hints of it and feel the sexual tensions between the 2 main characters. Rather disappointing for some but it's that exact same formula which makes it such a beautiful movie to watch. To top it off, it was filmed in the French countryside which is so breathtaking that you could just watch the movie for the cinematography alone. All in all, it's a superb movie in the tradition of finely crafted French costume dramas.

Juliette Binoche and Olivier Martinez look great, and they throw themselves enthusiastically into their roles. They do have a certain chemistry together, but the film devotes much more attention to the effects of the French cholera epidemic in 1832 on the countryside. The plot that kicks off the story rather dramatically is that of the assassination plots against Italian nationalists by Austrians who'd like to take over northern Italy. The end of the movie, however, reveals the true focus of the story. I wish that the majority of the movie was devoted to that story.

Italian patriot Colonel Angelo Pardi is fleeing his country in 1832. He enters the cholera ridden French Provence. There he meets Pauline who is lovelessly married to rich Marquis de Théus. Together they will look for him. The road movie starts pretty slow and chaotic. More often than once I was confused about what was going on. A lot of swashbuckling, dead people, crows and crows again, some chases. There seemed to be no real plot or focus. Then after about one hour suddenly it got better and delivered what I was expecting. The romance between Juliette Binoche and Olivier Martinez gained momentum and the story got some direction. The ending was a bit melodramatic and lacked credibility but I won't ask for too much.

Both lead actors did a good job. Cinematography was good and benefited from the setup in France's beautiful landscape. There was an improvement to be seen after a rather bad start.

6 / 10

Le hussard sur le toit (1995) was shown in the U.S. with the translated title Horseman on the Roof. Jean-Paul Rappeneau was the co-writer and director.

This movie is billed as a swashbuckling romantic drama. That's what it is, except that most of the movie involves people dying from cholera.

Historically, there was a cholera epidemic in 1832. And, yes, one method of helping people with cholera was to rub their skin to "revitalize" them.

Juliette Binoche portrays Pauline de Théus, who blithely ignores the cholera quarantine. (We're supposed to think that's OK, but it isn't.) You won't be surprised that she looks great in period costume.

Olivier Martinez plays Angelo Pardi, and Italian patriot being hunted in France by Austrian assassins. (Don't ask.) If you want your swash buckled, he's your man.

There's some beautiful scenery in the movie, so it would work better on the large screen. We saw it on the small screen, and that worked well enough. The movie has an IMDb rating of 7.1, with which I agreed. I rated it 7.

I found this film to be excellent. Though I am a student of history, I really do not know all the details regarding this episode of the freeing of Italy from Austrian authoritarianism. Though interesting, the historical aspect of the movie was not that important to me. It was a highly enjoyable adventure film that could have been placed in lots of different historical times.

Besides being a great adventure film it masterfully dealt with a most wide range of emotions. There were many undertones and harmonics dealing with fear, desperation, horror, escape, passion, love, honor and divine, or natural, justice.

What was so fascinating to me was how the movie showed the power of freedom, courage and focus. The protagonist was raised by his mother (a most curiously powerful presence in this movie even though we never see or hear her)to be independent and freedom loving and this movie shows how strong and almost invincible this makes him because he believes it and lives it with all his heart. All around him the world is literally falling apart and going mad from fear and disease and yet, by neither railing against it nor taking on these thoughts, he triumphs with his will to live and being true to his own vision at all times.

And as an added bonus, the visual artistry of this movie, from the titles all the way to the end is beautiful to behold. The scenery, costumes, sets, actors, camera angles and etc. are all brilliantly satisfying. The movie was a joy to see.

Le Hussard sur le Toit presents its audience with the grim reality of cholera-stricken rural France in 1832 and its effect on a journey of escape by two anxious visitors. The frequent images of corpses and mass burial are refreshed by the breathtaking and beautifully shot scenery, itself brought to life by characters who dilute the presence of death with an oxymoronic mix of comedy and despair. Carrion crows regularly appear, mercilessly flying around in sinister anticipation, their cawing beaks wide open with hunger.

Juliette Binoche enters only in the second half, her laconic period style beautifully portrayed, and preparing the way for her appearance as George Sand in Les Enfants du Siecle (1999). Le Hussard's plot is simple, its screenplay uncomplicated. But the action is fast and Bond-like and the innocence of Martinez' military-dominated character is uncanny. But it is its simplicity that makes this movie a work of exceptional visual satisfaction, for romantics or action-lovers alike.

It takes quite an amazing group of people to make a great epic. Aside from great source material, really all the components have to be superb, and it has to be put together in such a way that the viewer is not left wondering what happened to a decade (see: Queen Margot).

Most of the necessary pieces are here, but there is something missing, some element that keeps it from being a truly great film. It is certainly a good one, a movie that is worth seeing, and worth doing so on a big screen, thanks to its beautiful scenery between France and Italy. The stars are very watchable, and the story is tight enough to keep your attention throughout. Unlike many films of its genre, it is not overlong.

Ironically, I found myself comparing it to another Binoche epic, The English Patient, which made me wonder what was lacking in light of what I consider to be a finer film. In the end, it may be simply that the latter had a novel that was more compelling, or a lead (Fiennes) that was just more riveting.

The story is of two people fleeing the outbreak of cholera in early 19th century France. Angelo is attempting to return to his native Italy, to join the revolution, and Pauline is searching for something... They manage to aid each other's flight.

In the great tradition of French period epics, this is not the pinnacle, but it is near the upper echelon. It's worth a shot.

This film is one of the most expensive films ever made in France but it was worthwhile. Even with such a huge budget, Jean-Paul Rappeneau is controling very well this epic film. Moreover, it shows numerous qualities which proves Rappeneau's confidence towards his film, for example: the beauty of the landscapes, the performance of the two main actors: Olivier Martinez who is very at ease in his role of soldier and Juliette Binoche who is ravishing and brave too, the briskly rhythm of the film itself and the quality of the screenplay which is sometimes ironic .I didn't read the novel by Jean Giono but I suppose that the film is very faithful to the novel. I noticed one thing in this film which is weird: very famous French actors have got only a little role: Gérard Depardieu who performs a policeman, Jean Yanne who is a hawker and François Cluzet who is a doctor. As a conclusion: an epic film which is worth to be seen

The Horseman on the Roof is one of those rare movies that has everything going for it; breathtaking scenery, fascinating story told in literary style with great attention to detail, stunning main characters with exceptional chemistry and screen presence, and an epic presentation of a great adventure. The central motivation of our young colonel is chivalry and that is so refreshing. Amazing!

This is a 19th century story that is strongly reminiscent of a "knight in shining armor" story of long, long ago. The handsome hero is both committed to his cause of freeing Italy from Austrian rule AND protecting his lady from all harm--even when she stupidly blunders into it on a couple occasions. From start to finish, this is an excellent historical "chick flick" and is likely to excite the passions of many female viewers, but I am a guy (at least the last time I checked) and I STILL enjoyed it. The acting was excellent and the cinematography outstanding. About the only minor problem with the film was the occasional stupid behaviors by the female lead (Binoche). A couple times, she just seemed too stupid to live--but, of course, the handsome hero came to her rescue.

An excellent film, but a little disturbing due to its graphic depiction of plague victims. Plus, with a little nudity towards the end of the film (it was explicit but not gratuitous), this is NOT a film for the kids.

"Horseman on the Roof" is a stylish and romanticized saga of a chivalrous Italian freedom fighter's odyssey with a French gentry wife amid a 19th century southern European cholera epidemic. Though this restrained love story and adventure film deserves high marks on all levels, rich, lush scenic beauty and award winning cinematography are its hallmark.

I found the film historically poignant in reference to the period of history when the plague ravaged Europe. You feel what people must have felt during that era.

The romance was sensitive and based on harsh realities of the epoch in question. This was in my mind, different and refreshing.

I recommend this movie to the student of history as well as those who would study love and how love grows in a relationship.

I felt the actors were a good pick and stood up well to the task at hand.

A great example of some of the recent French films that have come on the scene lately.

This lavish spectacle includes panoramic mountain views, stunningly beautiful Juliette Binoche, studly handsome Olivier Martinez, energetic sword fights, dashing horses, touching love, feeble attempts of cholera control, aristocratic restraint, flawless acting, and even decent subtitles... ...Now really, what else could one want in a film?!! This is a terrific film, with a refreshing French style (not the usual Hollywood format). Nearly all the IMDB comments below are positive, and this film won (or was nominated for) several awards. Unless you are averse to non-English films, I suggest you run down and rent this video now. It is a gem.

In 1832, a frightened France has a serious epidemic of Asiatic cholera, which is killing the population specially in the country, and Italy is invaded and dominated by Austria. In this scenery, Angelo (Oliver Martinez) is a 25 years old refined Italian colonel from a wealthy family exiled in France. He is trying to gather his exiled compatriots and return to Milan to organize the Italian resistance against Austria. Angelo is welcomed by the French noble Pauline (Julliete Binoche) in her house in a difficult moment for him, and Pauline travels together with Angelo, trying to find her missing husband in a chaotic country. Along their journey, Angelo becomes her protector, and they fall in love for each other. "Le Hussard Sur le Toit" is a delightful adventure and a sensitive romance. The story is beautiful and the platonic love and the chemistry between Angelo and Pauline are wonderful. An excellent movie, with a beautiful reconstitution of a dark period of French history and highly recommended for any audience. My vote is eight.

Title (Brazil): "O Cavaleiro do Telhado e a Dama das Sombras" ("The Knight of the Roof and the Lady of the Shadows")

After its end, you feel it more than a wise adaptation or a beautiful film. But a lovely embroidery of splendid cinematography, admirable acting and trip in past. A love story, a survive, in same measure, unique demonstration of high care for each detail and a touching confession, real useful in pandemic times, about gentle feelings, cholera and reactions around it and fight for the other. Juliette Binoche and her remarkable portrait of Pauline, Olivier Martinez, reminding, scene by scene, portrait of Gericauld and, off course, the reflection of Jean Giono lines. Result, a special state of soul, more than emotion, close to redefinition, in clear, fragile terms, of world meanings.

Another excellent job by Juliette Binoche. Set in early 19th century France. An Italian patriot, Olivier Martinez, fled into Aix-en-Provence, France. He is befriended by the Marquess De Theus (Binoche) while trying to get back to Italy during cholera epidemic. Together they make their way across southern France. Excellent story supported by magnificent scenery and superb acting.

I feel Jean-Claude Carrière behind the story. It drags on and yet it fascinates. It has a pinch of Bunuel in it. It doesn't show the blood, and not the outwardly world. Despite of the incredible state of affairs, with war, cholera, daily deaths, sufferings, we are taken and follow in a world above the physical misery.

What is displayed is another world; a world of strength, confidence, and most of all, love.

The movie doesn't work on the pictures. It works on what the audience can build up between the individual frames. And we learn to see outstanding individuals, not following the daily reasoning and cheating.

It struck me most, how - and we don't know when it happened - the heroine fell in love, and for the first time after more than one hour into the movie ... smiles! At HIM. And how, I think for the first time after one and a half hour of the running movie, the hero could actually save a person from the cholera with that strange method. Here we see for the first time his feelings for HER. His actions had been clear before; though shrouding his feelings behind convention.

I for one also do love the end. It is not the Hollywoodian kissing sequence, though still open. Never mind the actual outcome. We have seen at least two people living their lives to what they could drag out of these lives; and - most important - remain good and considerate people throughout.

Real role models in our dreadful times of a sorry state of affairs.

This movie is about honor, courage, and honesty.

It is beautiful in many ways, including scenery and the typically French passion for precision of meaning in language.

However, its greatest beauty is its display of honor and how it guides the lives of the protagonists, Angelo and Pauline, and directs the unfolding of the story.

The epilogue suggests that Pauline's husband is also a man of honor.

Such subject matter is particularly appreciated by Americans, who in the past decade have been sickened by widespread dishonor in public officials, journalists, and the intelligensia. When honor, honesty, and courage are openly scorned and ridiculed, and deceit and intimidation are openly accepted, a movie which displays the value, importance, and magnificence of honor, honesty, and integrity, and shows them so beautifully, is thrilling and reassuring.

"Horseman on the Roof" is a stylish and romanticized saga of a chivalrous Italian freedom fighter's odyssey with a French gentry wife amid a 19th century southern European cholera epidemic. Though this restrained love story and adventure film deserves high marks on all levels, rich, lush scenic beauty and award winning cinematography are its hallmark.